musical style, composed by American artists, would come to be respected and revered if only America would embrace and cultivate its own native artists. At the time, America was still considered to be inhabited by crude immigrants and rebels with no culture. Classical music and opera were ruled by Europe and it was believed by many, worldwide, that only Europeans could become Masters of the Arts. Charles Jerome Hopkins was determined to prove them wrong. From the age of ten, barely able to reach the stops, Charlie played pipe organ at St. Paul's Episcopal Cathedral (Burlington, Vermont). He traveled, as well, to churches in Rutland, Vermont and Rochester, New York to play organ and help Theodore write liturgical music for the church services. It was noted by Theodore, in letters of reference for Charles, that the lad could learn any composition by ear. Throughout his entire life, when giving his musical tours and performances, Hopkins never used sheet music or notes when performing or lecturing. Education and early formative experiences At the age of fourteen, Charles attended the University of Vermont, studying chemistry. He loved the science and for much of his life, even when he dedicated himself to music, it was thought of him that he struggled to choose between two equal masters of his passions: Chemistry and Music. He did not graduate from UVM, rather he left Vermont, first for London to play at The Crystal Palace and then for New York City. He had decided once and for all that the cause of discovering the American Art through music was to be his life's purpose. At the age of 16, Charles Jerome Hopkins arrived at Cooper Union and applied for a music teaching position, without credentials or experience. He was told to go gather up some experience and try again. Becoming an organist at several New York City churches (including the illustrious and historical Trinity Cathedral), he built up his experience but also set into place the pattern of animosity with those in authority that would plague him his entire life and ruin, in many instances, the successes he could have had. In New York: character and disposition Letters written by "C. Jerome Hopkins", as he now referred to himself, from those first years in New York indicate ongoing feuds with musical directors at the churches where he played organ, unceasing conflicts with other musicians and endless